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Tuesday, February 5, 2013

Brandon Peters retrospective review: Die Hard (1988).

It's time for another comprehensive franchise discussion from Brandon Peters, this time centering around the February 14th release of A Good Day to Die Hard. As such, the first film on the list is, well, Die Hard.

If you’re at least 25, a male and haven’t seen Die Hard… you've got to be kidding, right? John
McTiernan’s 1988 action thriller arguably changed an entire genre and still
has its effect ever so present in today’s action world. The film launched what will be a five-film
franchise coming this Valentine’s day.
Do they all work? Should it have
stopped after one? two?. That’s what we’re here to discuss.

Coming off the hit film Predator,
director John McTiernan was offered the big screen adaptation of the book
Nothing Lasts Forever, a sequel to The Detective (which was made into a movie in 1968). McTiernan
found the material too dark and turned it down initially. Once the script was lightened up, he
accepted. Due to a contractual
obligation, the star of The Detective,
an aged Frank Sinatra had to legally be offered to the role first before
anything was to move forward. As
expected, he turned it down. The script
was then refurnished to feature a younger lead and also the character’s
daughter became his wife. Joe Leland
then became John McClane as to not confuse this as a direct follow up to The Detective. And hoping to reteam with his star from his
previous film, McTiernan offered the lead to Arnold Schwarzenegger. Once he turned it down, the bill of usual
action movie suspects turned it down as well (Stallone, Mel Gibson, Burt
Reynolds, Harrison Ford, even Richard Gere).

Partially out of desperation to find a lead actor in time to start filming, McTiernan decided to take a different route in the end and
cast TV star Bruce Willis with an unheard-of $5 million to play the
role. At first, Willis was unable to accept,
due to his obligations to the hit series Moonlighting,
but when co-star Cybill Shepherd got pregnant, the door opened for Willis. And if you have the Moonlighting DVDs, Bruce thanks Cybill for getting knocked up so he
could do Die Hard, which propelled
him into a genuine super star. Ironically Willis and Shepherd reportedly hated each other. Willis's star turn brought something new and different to the conventional action hero role: He was an every-man. He was your dad, your uncle, a guy that
worked at your local store. His physique wasn't gargantuan, he made wise cracks, he bled, he got scared, he was
emotional during a crisis. We felt for
this guy. He doesn't act like a slick,
“too cool” arrogant badass either.
Willis invented a whole new kind of badass in this film. This gave the events at the Nakatomi tower a genuine plausibility. John McClane wasn't a
superhuman. He didn't have shoes. When he ran through the broken glass that
shatters in ever single action movie, he got cut and pieces of glass got stuck
in his feet. Who didn't wince in pain
with John as he picked the glass out (I still do to a degree to this day)?

Equally bringing an A game in his feature film debut is Alan
Rickman as Hans Gruber. Hans Gruber
probably goes down as THE best action movie villain of all time. Aside from the James Bond series, villains in
action movies were usually thankless, flat, boring roles. They were guys that just barked orders. Hans Gruber was colorful, and had thought five steps ahead of every part of his plan and every contingency necessary. He’s no fool and was as much a character as the hero he squared off against.
He gets thrust into playing a chess match with McClane and is still able
to carry through with his plan, almost getting away with it. Rickman absolutely shines in this role, which makes it odd that, save his equally potent villainous turn in Robin Hood: Prince of Thieves two years later, Rickman more-or-less disappeared from American cinema for nearly a decade until his comeback in 1999 with Dogma and Galaxy Quest. Come what may, Hans Gruber stands with Goldfinger, Darth Vader, The Joker, and Hannibal Lecter among the truly iconic screen villains in modern cinematic history.

Die Hard is
wonderfully thought out and choreographed by McTiernan. In a very smooth, non blatant way, within the
first twenty minutes McTiernan is able to give you a comfortable feel for the
layout of the Nakatomi building and the background and drive of all the major
characters. Its so swift, so natural,
that you’re just swept up in it. There’s
cues to John and Holly’s possible divorce and where their relationship is
without ever actually saying anything about it.
A character like Ellis may be the stereotypical 80's yuppy LA business
coke nose scumbag, but Hart Bochner (a Terror
Train alum) plays it was with such color and dedication that he becomes a three-dimensional person.
All the terrorists, while not overly shaded or developed, are
easy to discern and remember throughout the film and after you've left the
theater. Maybe its because they all
dress their own way and have their own visual style.
Some get some funny bits as well (the “front door stakeout-grabbing a
candy bar” being a fave). There’s plenty of crowd-pleasing action and occasionally brutal violence, yet the film doesn't revel in its (restrained by today's standards) carnage nor does it revel in the onscreen demises of its various bad guys.

And since our hero is alone, instead of making us just watch
a machine go to work, we are given a cop on the outside for John McClane to
communicate with and dig deeper into who he is and what he wants. This could have been a guy talking to himself
or working in silence. The John-Al
relationship is key to getting us through the night, and ramps up the suspense
just another tad, as we hope to see the two united for the first time at the
end of everything. In a weird way, watching it this time, I had thoughts of Die Hard resembling the latter portion
of Homer’s Odyssey. John has been away for a long time, longing
to see his wife. But when arrives, the
things have changed. There’s suitors and
obstacles with which he must surpass in order to call his castle home
again. And while there is a genuine would-be suitor
(Ellis), most of the "suitors" are now terrorists taking hold of what John has
been away defending. Also of note, this is the second film in my
“Dissection” series to feature Robert Davi and Grand L. Bush. The first was License to Kill. Here they
are together a year prior as FBI agents Johnson and Johnson.

Die Hard is one of
those films that I would say is damn near perfect. It still works to this day. There’s not a thing I would change about
it. And that’s saying a lot. This film influenced the action genre
tremendously in ways that still resonate today. Everyone
wanted to make the next Die Hard. An entire sub-genre of action movies sprung up trying to put
a regular Joe in a contained area fighting to get out. Whether it was a chef on a battleship (Under Siege) or a disturbed former cop
on a plane (Passenger 57), it was “Die
Hard on a ship!” or “Die Hard on
a plane!” Everyone wanted in on the Die Hard formula. Not until The
Matrix came did the “Die Hard on
a” taglines start to simmer down. They didn't go away though, I’m sure you can still find them today.

Die Hard is one of
my absolute favorite films. Nobody is
going to put this film in an AFI top blah blah of all time. And that’s fine. I can pop this thing in at
any time and run with it. It was one of
the first real ‘Hard R’ films I ever saw.
Most of my generation’s first R film was usually Robocop. But this one felt like the first “adult”
movie I shouldn't be watching. Watching Die Hard made me feel like I was getting away with something. The film's plausibility gives it its excitement while the sheer relatability of John McClane gives it its suspense. I sympathized and loved the character of John
McClane as he made me laugh (that line I used as the quote above got rewound so
many times the first time I saw Die Hard). I felt for him and rooted for him to take down the robbers, finish off Hans Gruber,
reunite with Holly and meet Al for the first time.

4 comments:

corysims
said...

Watched this last week and I completely agree. It was great to revisit this near perfect classic. Combined with McTiernan's Predator and First Blood, I think you make a strong case that you can't do, in terms of the action genre, than those three films.

He never quit while he was ahead but the inferior sequels (even the great sequel, With A Vengeance) can never stain the classic that is Die Hard.

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The basics - 31 years old, married with two children, currently residing in Woodland Hills, CA. I am simply a longtime film critic and pundit of sorts, especially in the realm of box office. The main content will be film reviews, trailer reviews, essays, and box office analysis and comparison. I also syndicate myself at The Huffington Post, Valley Scene Magazine, and Open Salon.
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